| Orion Ensemble de cuivres [Conducteur] - Facile De Haske Publications
Brass Band - Grade 2.5 SKU: BT.DHP-1002341-130 Slow March. Compose...(+)
Brass Band - Grade 2.5
SKU:
BT.DHP-1002341-130
Slow March.
Composed by Jan Van der
Roost. Brilliant Marches.
March. Score Only.
Composed 2000. De Haske
Publications #DHP
1002341-130. Published by
De Haske Publications
(BT.DHP-1002341-130).
There are all
sorts of marches: fast
and slow, solemn and
energetic, military and
civil, procession and
funeral. Orion is a
so-called ‘slow
march’. However
the moderate tempo does
not make a passive or
heavy impression. On the
contrary, this march
contains natural optimism
and spontaneity. The
persistant
‘pulse’
gives this majestic march
a noble character
Orion ist
zwar ein langsamer
Marsch, sein getragenes
Tempo wirkt aber
keineswegs passiv oder
schwerfällig, vielmehr
strahlt er natürlichen
Optimismus und
Spontaneität aus. Die
eher einfach gehaltene
Komposition ist
vielseitig einsetzbar und
soinstrumentiert, dass
sie auch von kleineren
Formationen ohne
nennenswerte
Veränderung im
Gesamtklang gespielt
werden kann. Der fast
durchgehend rhythmische
Puls des Schlagzeugs
verleiht dem
majesÂtätischen
Marsch das gewisse Etwas.
Orion est
une marche lente qui se
distingue par son
caractère optimiste et
sa fraîcheur. Cette
marche de concert,
techniquement peu
exigeante, est accessible
un grand nombre de
formations. Le choix de
l’instrumentation
permet également aux
petits ensembles de
l’interpréter
avec un rendu tout aussi
homogène. La pulsation
rythmique presque
continue de la percussion
donne cette marche
majestueuse un
caractère noble. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Orion Ensemble de cuivres [Conducteur et Parties séparées] - Facile De Haske Publications
Brass Band - Grade 2.5 SKU: BT.DHP-1002341-030 Slow March. Compose...(+)
Brass Band - Grade 2.5
SKU:
BT.DHP-1002341-030
Slow March.
Composed by Jan Van der
Roost. Brilliant Marches.
March. Set (Score &
Parts). Composed 2000. De
Haske Publications #DHP
1002341-030. Published by
De Haske Publications
(BT.DHP-1002341-030).
There are all
sorts of marches: fast
and slow, solemn and
energetic, military and
civil, procession and
funeral. Orion is a
so-called ‘slow
march’. However
the moderate tempo does
not make a passive or
heavy impression. On the
contrary, this march
contains natural optimism
and spontaneity. The
persistant
‘pulse’
gives this majestic march
a noble character
Orion ist
zwar ein langsamer
Marsch, sein getragenes
Tempo wirkt aber
keineswegs passiv oder
schwerfällig, vielmehr
strahlt er natürlichen
Optimismus und
Spontaneität aus. Die
eher einfach gehaltene
Komposition ist
vielseitig einsetzbar und
soinstrumentiert, dass
sie auch von kleineren
Formationen ohne
nennenswerte
Veränderung im
Gesamtklang gespielt
werden kann. Der fast
durchgehend rhythmische
Puls des Schlagzeugs
verleiht dem
majesÂtätischen
Marsch das gewisse Etwas.
Orion est
une marche lente qui se
distingue par son
caractère optimiste et
sa fraîcheur. Cette
marche de concert,
techniquement peu
exigeante, est accessible
un grand nombre de
formations. Le choix de
l’instrumentation
permet également aux
petits ensembles de
l’interpréter
avec un rendu tout aussi
homogène. La pulsation
rythmique presque
continue de la percussion
donne cette marche
majestueuse un
caractère noble. $78.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fantasia for Tuba [Conducteur et Parties séparées] - Intermédiaire Curnow Music
Brass Band and Tuba Solo - Grade 4 SKU: BT.CMP-1223-07-030 Composed by Ja...(+)
Brass Band and Tuba Solo
- Grade 4 SKU:
BT.CMP-1223-07-030
Composed by James Curnow.
Brassband. Solo &
Concerto. Set (Score &
Parts). Composed 2007.
Curnow Music #CMP
1223-07-030. Published by
Curnow Music
(BT.CMP-1223-07-030).
A4 (210X297) inches.
English. This work
for Tuba and Brass Band
was commissioned by and
written for
internationally renowned
tuba soloist Steve Sykes.
The Tuba plays four notes
(F, Bb, G, C) during the
opening. All the themes
and much of the harmonic
structure are based on
these fours notes and
their permutations. The
soloist receives ample
opportunity to showcase
his or her technical
prowess and expressive
capabilities. Fantasia
for Tuba also provides
plenty of interaction
between the soloist and
brass band.
In de
loop der eeuwen is
schitterende kerstmuziek
geschreven. In de
dertiende eeuw ontstond
March of the Three
Kings. Deze melodie,
die wordt toegeschreven
aan een anonieme monnik,
is nog altijd geliefd. In
Fantasia on a13th
Century Carol is de
melodie verwerkt in
diverse variaties en
stijlen, met als
hoogtepunt een
symfonische
mars.
Dieses Werk
für Tuba und Brass
Band entstand im Auftrag
des international
renommierten Tubasolisten
Steve Skyes. Zu Beginn
intoniert die Tuba die
vier Noten F, B G und C,
auf welchen alle Themen,
viele Harmonien und
Permutationen basieren.
Vor dem kraftvollen
Schluss hat der Solist
viel Gelegenheit, sein
technisches Können und
seine Ausdruckskraft
unter Beweis zu stellen,
aber auch für den
Dialog mit anderen
Solisten und der gesamten
Brass Band ist Raum in
dieser kunstvollen
Fantasia. $84.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Fantasia for Tuba [Conducteur] - Intermédiaire Curnow Music
Brass Band and Tuba Solo - Grade 4 SKU: BT.CMP-1223-07-130 Composed by Ja...(+)
Brass Band and Tuba Solo
- Grade 4 SKU:
BT.CMP-1223-07-130
Composed by James Curnow.
Brassband. Solo &
Concerto. Score Only.
Composed 2007. 46 pages.
Curnow Music #CMP
1223-07-130. Published by
Curnow Music
(BT.CMP-1223-07-130).
A4 (210X297) inches.
English. This work
for Tuba and Brass Band
was commissioned by and
written for
internationally renowned
tuba soloist Steve Sykes.
The Tuba plays four notes
(F, Bb, G, C) during the
opening. All the themes
and much of the harmonic
structure are based on
these fours notes and
their permutations. The
soloist receives ample
opportunity to showcase
his or her technical
prowess and expressive
capabilities. Fantasia
for Tuba also provides
plenty of interaction
between the soloist and
brass band.
In de
loop der eeuwen is
schitterende kerstmuziek
geschreven. In de
dertiende eeuw ontstond
March of the Three
Kings. Deze melodie,
die wordt toegeschreven
aan een anonieme monnik,
is nog altijd geliefd. In
Fantasia on a13th
Century Carol is de
melodie verwerkt in
diverse variaties en
stijlen, met als
hoogtepunt een
symfonische
mars.
Dieses Werk
für Tuba und Brass
Band entstand im Auftrag
des international
renommierten Tubasolisten
Steve Skyes. Zu Beginn
intoniert die Tuba die
vier Noten F, B G und C,
auf welchen alle Themen,
viele Harmonien und
Permutationen basieren.
Vor dem kraftvollen
Schluss hat der Solist
viel Gelegenheit, sein
technisches Können und
seine Ausdruckskraft
unter Beweis zu stellen,
aber auch für den
Dialog mit anderen
Solisten und der gesamten
Brass Band ist Raum in
dieser kunstvollen
Fantasia. $29.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Artemis Ensemble de cuivres [Conducteur] - Facile De Haske Publications
Brass Band - Grade 3 SKU: BT.DHP-1053854-130 Fulnaho. Brilliant Ma...(+)
Brass Band - Grade 3
SKU:
BT.DHP-1053854-130
Fulnaho. Brilliant
Marches. March. Score
Only. Composed 2005. 32
pages. De Haske
Publications #DHP
1053854-130. Published by
De Haske Publications
(BT.DHP-1053854-130).
9x12 inches.
English-German-French-Dut
ch. Artemis is the
Greek goddess of hunting
and forests. In western
art she is often pictured
with deer, lions or bears
with a bow in her hand.
The tempo of this march
is stately and the themes
are
“concertanteâ€
in character making
Artemis best suited as a
concert march rather than
a street march.
Technically this march is
not too difficult
although at times some
dexterous fingering is
necessary. The trio
melody is especially
lyrical and offers
various sections within
the band the possibility
to show off their skill
in playing the expressive
melody. This excellent
new concert march is sure
to become a classic and
be performed time and
time again.
Het
tempo van deze mars is
statig en de
thema’s zijn
concertant van karakter:
Artemis is dus
eerder geschikt als
concertmars dan als
loopmars. Technisch is
dit werk niet erg lastig
om spelen, al wordt af en
toe wel wat
vingervaardigheidvereist.
De triomelodie is echter
uitgesproken lyrisch en
biedt diverse secties
binnen het orkest de
mogelijkheid om zich
melodisch en expressief
te etaleren. Een
aangenaam klinkende en
prima speelbare
concertmars!
Artem
is ist die griechische
Göttin der Jagd und
der Wälder. Jan Van
der Roost ließ sich
zum wiederholten Male von
der griechischen
Mythologie inspirieren
und komponierte diesen
Marsch mit
gemäßigtem Tempo
und konzertanten Themen.
Obwohl technisch nicht
sehr schwer, erfordert er
doch stellenweise etwas
Fingerfertigkeit. Der
Trio-Teil ist jedoch
besonders lyrisch und
bietet verschiedenen
Registern des
Blasorchesters die
Möglichkeit, sich in
Melodie und Ausdruck zu
beweisen. Kurz gesagt ist
Artemis ein
ausgezeichneter und gut
spielbarer Konzertmarsch,
der viele Blasorchester
anspricht.
Arté
mis est la déesse
grecque de la nature
sauvage et de la chasse.
Dans l’art
occidental, elle est
souvent représentée
armée d’un arc
et de flèches et
entourée de cerfs, de
lions et d’ours.
Évoluant sur un tempo
majestueux et
développant des
thèmes au caractère
concertant, Artemis
s’inscrit
pleinement dans la
lignée des grandes
marches de concert.
Hormis quelques passages
nécessitant une plus
grande souplesse des
doigts, elle ne contient
que peu de difficultés
techniques. Artemis est
une pièce brillante
qui convient au plus
grand nombre
d’Orchestres
d’Harmonie.
Artemis è la Dea
greca della natura
selvatica e della caccia.
Nella cultura
occidentale, è spesso
rappresentata armata di
arco e frecce e
circondata da cervi,
leoni e orsi. Evolvendosi
su un tempo maestoso e
sviluppando temi centrali
dal carattere
concertante, Artemis
rientra nella linea delle
grandi marce da concerto.
Ad eccezione di qualche
passaggio che necessita
una maggiore scioltezza
delle dita, il brano
contiene solo poche
difficolt tecniche.
Artemis è un pezzo
brillante adatto alla
maggior parte delle
bande. $29.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Trumpets of Jericho Ensemble de cuivres - Intermédiaire De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1074321-030 Composed by Enrique Crespo. ...(+)
Brass Band - Grade 4
SKU:
BT.DHP-1074321-030
Composed by Enrique
Crespo. Arranged by Klaas
van der Woude. Applause
Series. Concert Piece.
Set (Score and Parts).
Composed 2007. De Haske
Publications #DHP
1074321-030. Published by
De Haske Publications
(BT.DHP-1074321-030).
9x12 inches.
English-German. Thi
s programmatic piece
tells the biblical story
of the fall of Jericho.
The music paints a vivid
picture of the procession
of armed men and seven
priests marching around
the city for seven days,
before blowing their
trumpets and to the
cheers of the crowds
watching as the walls
came tumbling down. A
dazzling opening work for
any concert.
In
Trumpets of
Jericho staat het
Bijbelse verhaal over
Jericho centraal. Zes
dagen trokken gewapenden
en priesters met de Ark
rond de stad, gevolgd
door het volk der
Israëlieten, terwijl
de priesters op
ramshorens bliezen.Op dag
zeven trok de stoet zeven
maal rond de stad - en
toen de priesters bij de
zevende maal op de horens
bliezen, stortten de
stadsmuren in. Dit
arrangement begint met
een kleine trom en
suggereert een optocht
vanuit de verte.
Steedsmeer instrumenten
sluiten zich aan. Het
groot koper, de
middengroep en het
slagwerk stellen de
Israëlieten voor. De
cornetten verklanken de
gewapenden en de
priesters met hun
ramshorens.
Tru
mpets of Jericho ist
ein programmatisches
Stück über den Fall
der Mauern von Jericho.
Sieben Tage lang
marschierte das Volk
Israel schweigend um die
Stadt herum, während
die Priester in ihre
Trompeten aus
Widderhörnern bliesen,
bis die Mauern
schlieÃ?lich
einstürzten. Mit
kleinen Trommeln und den
Bass-, Tenor- und
Altinstrumenten für
den schweigsamen Marsch
sowie Kornetten für
die Priester und Soldaten
wird die spannende
biblische Erzählung in
diesem Stück
lebendig.
Trump
ets of Jericho est
une ?uvre programme du
compositeur et
tromboniste uruguayen
Enrique Crespo (1941).
Jéricho est, selon le
récit biblique, la
première ville du pays
de Canaan conquise par
Josué et les
Hébreux vers 1200
avant J.-C. Le livre de
Josué relate la prise
de Jéricho et comment,
le septième jour -
après avoir fait le
tour de la cité en
silence une fois pendant
six jours - les murailles
de la ville
s'effondrèrent par la
simple volonté divine
après la procession,
sept fois autour de la
cité, de l'arche
d'Alliance et de sept
prêtres sonnant sept
chofars (trompettes). La
version musicale du
récit est dâ??une
grande intensité. $78.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Trumpets of Jericho Ensemble de cuivres [Conducteur] - Intermédiaire De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1074321-130 Composed by Enrique Crespo. ...(+)
Brass Band - Grade 4
SKU:
BT.DHP-1074321-130
Composed by Enrique
Crespo. Arranged by Klaas
van der Woude. Applause
Series. Concert Piece.
Score Only. Composed
2007. 28 pages. De Haske
Publications #DHP
1074321-130. Published by
De Haske Publications
(BT.DHP-1074321-130).
9x12 inches.
English-German. Thi
s programmatic piece
tells the biblical story
of the fall of Jericho.
The music paints a vivid
picture of the procession
of armed men and seven
priests marching around
the city for seven days,
before blowing their
trumpets and to the
cheers of the crowds
watching as the walls
came tumbling down. A
dazzling opening work for
any concert.
In
Trumpets of
Jericho staat het
Bijbelse verhaal over
Jericho centraal. Zes
dagen trokken gewapenden
en priesters met de Ark
rond de stad, gevolgd
door het volk der
Israëlieten, terwijl
de priesters op
ramshorens bliezen.Op dag
zeven trok de stoet zeven
maal rond de stad - en
toen de priesters bij de
zevende maal op de horens
bliezen, stortten de
stadsmuren in. Dit
arrangement begint met
een kleine trom en
suggereert een optocht
vanuit de verte.
Steedsmeer instrumenten
sluiten zich aan. Het
groot koper, de
middengroep en het
slagwerk stellen de
Israëlieten voor. De
cornetten verklanken de
gewapenden en de
priesters met hun
ramshorens.
Tru
mpets of Jericho ist
ein programmatisches
Stück über den Fall
der Mauern von Jericho.
Sieben Tage lang
marschierte das Volk
Israel schweigend um die
Stadt herum, während
die Priester in ihre
Trompeten aus
Widderhörnern bliesen,
bis die Mauern
schließlich
einstürzten. Mit
kleinen Trommeln und den
Bass-, Tenor- und
Altinstrumenten für
den schweigsamen Marsch
sowie Kornetten für
die Priester und Soldaten
wird die spannende
biblische Erzählung in
diesem Stück
lebendig.
Trump
ets of Jericho est
une œuvre programme
du compositeur et
tromboniste uruguayen
Enrique Crespo (1941).
Jéricho est, selon le
récit biblique, la
première ville du pays
de Canaan conquise par
Josué et les
Hébreux vers 1200
avant J.-C. Le livre de
Josué relate la prise
de Jéricho et comment,
le septième jour -
après avoir fait le
tour de la cité en
silence une fois pendant
six jours - les murailles
de la ville
s'effondrèrent par la
simple volonté divine
après la procession,
sept fois autour de la
cité, de l'arche
d'Alliance et de sept
prêtres sonnant sept
chofars (trompettes). La
version musicale du
récit est d’une
grande intensité. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Winterreise [Conducteur] Breitkopf & Härtel
Quintet (2vl,va,2vc) SKU: BR.KM-2213 String Quintet. Composed by F...(+)
Quintet (2vl,va,2vc)
SKU: BR.KM-2213
String Quintet.
Composed by Friedhelm
Dohl. Chamber music;
Softcover.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere:
Bremen, March 19,
1986 Song; Music
post-1945. Full score.
Composed 1985. 52 pages.
Duration 20'. Breitkopf
and Haertel #KM 2213.
Published by Breitkopf
and Haertel (BR.KM-2213).
ISBN 9790004501214. 9
x 12 inches. Der
Titel Winterreise meint
unsere aktuelle
menschliche Situation.
Die Komposition ist somit
autobiographisch; daruber
hinaus bezieht sie sich
im materialen Vorfeld
einerseits auf Schuberts
Winterreise bzw. auf
meine Bruchstucke zur
Winterreise fur Klavier
(entstanden als Decollage
der Schubertlieder ,,Gute
Nacht, ,,Einsamkeit,
,,Der greise Kopf, ,,Die
Krahe, ,,Im Dorfe, ,,Der
Wegweiser, ,,Der
Leiermann), andererseits
auf 7 Gedichte Trakls, in
denen ich eine innere
Verwandtschaft zur
Winterreise empfinde.Die
Komposition ist
einsatzig. Sie gliedert
sich in 7 Stationen, die
in gewisser Hinsicht mit
den 7 Trakl-Gedichten
korrespondieren: I Presto
(,Melancholie')II
Sostenuto (,De
profundis')III Presto
desolato (,Trompeten')IV
Sostenuto (,An die
Schwester')V Adagio
(,Nachts')VI Presto quasi
maniaco ... Presto
infocato (Nachtwandlung')
VII Sostenuto ... Canto
animato
(,Nachtergebung').Die 7
Stationen folgen
,attacca' aufeinander.Die
5 Instrumente des
Streichquintetts (wie in
Schuberts Quintett mit 2
Violoncelli) sind weniger
,solistisch' als
,symphonisch' verstanden,
quasi als ein
,orchestraler' Organismus
mit verschiedenen
Registern.(Friedhelm
Dohl)CD:Auryn Quartett,
Boris Pergamenschikow
(2nd violoncello) CD
Dreyer-Gaido 21013
Bibliography:Nonnenmann,
Rainer: ,,Ach, meine
Sonnen seid ihr nicht.
,,Winterreise.
Streichquintett (1985) -
Eine intertextuelle
Zitatkomposition von
Friedhelm Dohl, in ders.:
,,Winterreisen.
Komponierte Wege von und
zu Franz Schuberts
Liederzyklus aus zwei
Jahrhunderten, 2 Bande (=
Taschenbucher zur
Musikwissenschaft, Band
150/151), Wilhelmshaven:
Florian Noetzel 2006, pp.
279-300.
World
premiere: Bremen, March
19, 1986. $62.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Winterreise Breitkopf & Härtel
Quintet (2vl,va,2vc) SKU: BR.KM-2214 String Quintet. Composed by F...(+)
Quintet (2vl,va,2vc)
SKU: BR.KM-2214
String Quintet.
Composed by Friedhelm
Dohl. Chamber music;
stapled.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere:
Bremen, March 19,
1986 Song; Music
post-1945. Set of parts.
Composed 1985. 60 pages.
Duration 20'. Breitkopf
and Haertel #KM 2214.
Published by Breitkopf
and Haertel (BR.KM-2214).
ISBN 9790004501221.
10.5 x 14
inches. Der Titel
Winterreise meint unsere
aktuelle menschliche
Situation. Die
Komposition ist somit
autobiographisch; daruber
hinaus bezieht sie sich
im materialen Vorfeld
einerseits auf Schuberts
Winterreise bzw. auf
meine Bruchstucke zur
Winterreise fur Klavier
(entstanden als Decollage
der Schubertlieder ,,Gute
Nacht, ,,Einsamkeit,
,,Der greise Kopf, ,,Die
Krahe, ,,Im Dorfe, ,,Der
Wegweiser, ,,Der
Leiermann), andererseits
auf 7 Gedichte Trakls, in
denen ich eine innere
Verwandtschaft zur
Winterreise empfinde.Die
Komposition ist
einsatzig. Sie gliedert
sich in 7 Stationen, die
in gewisser Hinsicht mit
den 7 Trakl-Gedichten
korrespondieren: I Presto
(,Melancholie')II
Sostenuto (,De
profundis')III Presto
desolato (,Trompeten')IV
Sostenuto (,An die
Schwester')V Adagio
(,Nachts')VI Presto quasi
maniaco ... Presto
infocato (Nachtwandlung')
VII Sostenuto ... Canto
animato
(,Nachtergebung').Die 7
Stationen folgen
,attacca' aufeinander.Die
5 Instrumente des
Streichquintetts (wie in
Schuberts Quintett mit 2
Violoncelli) sind weniger
,solistisch' als
,symphonisch' verstanden,
quasi als ein
,orchestraler' Organismus
mit verschiedenen
Registern.(Friedhelm
Dohl)CD:Auryn Quartett,
Boris Pergamenschikow
(2nd violoncello) CD
Dreyer-Gaido 21013
Bibliography:Nonnenmann,
Rainer: ,,Ach, meine
Sonnen seid ihr nicht.
,,Winterreise.
Streichquintett (1985) -
Eine intertextuelle
Zitatkomposition von
Friedhelm Dohl, in ders.:
,,Winterreisen.
Komponierte Wege von und
zu Franz Schuberts
Liederzyklus aus zwei
Jahrhunderten, 2 Bande (=
Taschenbucher zur
Musikwissenschaft, Band
150/151), Wilhelmshaven:
Florian Noetzel 2006, pp.
279-300.
World
premiere: Bremen, March
19, 1986. $82.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Craftsmen [Conducteur] - Facile De Haske Publications
Piccolo - Grade 2 SKU: BT.DHP-1053879-170 Composed by Christian Bouthier....(+)
Piccolo - Grade 2 SKU:
BT.DHP-1053879-170
Composed by Christian
Bouthier. Flexible 5
Series. Concert Piece.
Score Only. Composed
2005. 20 pages. De Haske
Publications #DHP
1053879-170. Published by
De Haske Publications
(BT.DHP-1053879-170).
9x12 inches.
English-German-French-Dut
ch. The energetic
activities of three
craftsmen at a local
crafts market inspired
the composer Christian
Bouthier to write this
work in three movements.
The clockmaker gets many
curious visitors at his
stand. He patiently and
proudlyshows the
precision work of his
beautiful clocks and lets
all of them tick the
small ones and large
ones. The cooper
(barrel-maker) skillfully
puts together
fine-looking, sturdy
barrels of the best types
of wood. From afar,
youcan hear the cooper
hammering. In the final
movement, things are
hectic at the blacksmith
because the local
horse-riding society has
just arrived. Many horses
are provided with new
shoes. The experienced
blacksmith hits
thehorseshoes into the
proper shape on his anvil
- now the horses can
spiritedly trot and
gallop on the way back. A
fascinating new addition
to the concert band
repertoire.
De
energieke werkzaamheden
van drie ambachtslieden
op een plaatselijke
ambachtsmarkt
inspireerden de Belgische
componist Christian
Bouthier tot het
schrijven van The
Craftsmen, een
compositie in drie delen.
De klokkenmaker,de kuiper
(tonnenmaker) en de
hoefsmid worden
achtereenvolgens op
ludieke wijze in de
muziek
weergegeven.
Zu
The Craftsmen -
‘Die
Handwerker’ -
ließ sich Christian
Bouthier beim Bummel
über einen Markt
inspirieren, wo alte
Handwerkskünste
vorgeführt wurden. In
den drei Sätzen seiner
Komposition werden sehr
anschaulich die
Klangeindrücke in
Musik umgesetzt: das
Ticken nostalgischer
Uhren beim Uhrmacher, das
Hämmern des
Böttchers beim Bau von
Holzfässern und
schließlich das
Schlagen der Hufeisen,
bevor der Hufschmied die
Pferde beschlägt. Ein
Werk der Reihe
Flexible 5 für
eine fünfstimmig
variable Besetzung, an
dem Musiker und Publikum
ihre Freude haben
werden!
Séduit
par
l’authenticité
et le charme d’un
marché artisanal,
Christian Bouthier
s’est inspiré
du savoir-faire de trois
artisans pour composer
cette suite en trois
mouvements.
l’ombre des
platanes, ils font et
refont devant un public
nombreux et passionné,
ces gestes ancestraux qui
donnent naissance tant de
belles choses.
Découvrez les
traditions
perpétuées par
l’artisan
horloger, le tonnelier et
le maréchal-ferrant.
Affascinato
dall’originalit e
dallo charme di un
mercato di artigiani, per
comporre questa suite in
tre movimenti, Christian
Bouthier si è ispirato
al
“savoir-faireâ€
di tre artigiani.
All’ombra dei
platani, dinnanzi ad un
pubblico numeroso ed
appassionato, gli
artigiani eseguono e
ripetono gesti ancestrali
che danno vita a oggetti
unici. Scoprite le
tradizioni attraverso un
orologiaio, un bottaio e
un fabbro. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Where there's Muck [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.GOB-000628-015 Compo...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2 SKU:
BT.GOB-000628-015
Composed by Peter Martin.
Set (Score & Parts). 146
pages. Gobelin Music
Publications #GOB
000628-015. Published by
Gobelin Music
Publications
(BT.GOB-000628-015).
The title is a
popular saying in
England. It means that's
where the money is. Where
there's muck, there's
power is such a popular
expression in the United
Kingdom. The saying
inspired Peter Martin to
compose a highly
attractive piece in four
parts, consisting of
contemporary dances that
can also be performed
separately. Let's dance!
De titel is een
populair gezegde in
Engeland. Het betekent
vrij vertaald - waar het
geld zit. 'Where there's
muck there is power' is
zo'n gevleugelde
uitspraak uit het
Verenigd Koninkrijk. Het
gezegde inspireerde Peter
Martin tothet schrijven
van een bijzonder aardig
5-delig werk met moderne
dansen welke ook
gescheiden van elkaar
gespeeld kunnen worden.
Let's dance! 1. Easy does
it - Steady Rock Een
aanstekelijk stukje in
rock-stijl. De rockmuziek
bestaatvanaf begin 60-er
jaren en sindsdien is de
stijl populair gebleven
maar er is geen genre
waar zoveel bands de
grond in- en uitgestampt
worden. Maar het blijft
leuk. 2. Best Foot
Forward - mars positief
De grootste doemdenkers
wordenvrolijk bij het
aanhoren van een vrolijke
mars. De oorsprong van de
mars is niet te
achterhalen maar de stijl
blijft populair en
actueel. Best Foot
Forward is een op
Amerikaanse leest
geschoeide mars. 3. Swing
Bin - De swingstijldie
eind 20-er jaren in de VS
losbarstte was een
uitvloeisel van de
crisisjaren. Aangevoerd
door Benny Goodman en de
Dorsey Brothers (Tommy en
Jimmy) werd deze vorm een
rage die grote invloed
bleef houden op de
ontwikkeling vande
jazzmuziek. Stilzitten is
er niet bij want de
muziek nodigt uit tot het
losmaken van al die luie
spieren en waar kan dat
het beste? In de
concertzaal maar het
liefst op de dansvloer.
4. The Supreme Skedaddle
- alla US March
Eenuitsmijter vormt de
Supreme Skedaddle, een
mars in US-stijl. Het
woord skedaddle is een
interessant item voor
etymologen maar de
componist kent het woord
uit zijn Noord-Engelse
geboortegrond. Het
betekent daar
'verspilling vaniets'.
Maar de feestelijke mars
is beslist geen
verspilling van papier of
energie. $90.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Where there's Muck [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.GOB-000628-215 Compo...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2 SKU:
BT.GOB-000628-215
Composed by Peter Martin.
Score Only. 20 pages.
Gobelin Music
Publications #GOB
000628-215. Published by
Gobelin Music
Publications
(BT.GOB-000628-215).
The title is a
popular saying in
England. It means that's
where the money is. Where
there's muck, there's
power is such a popular
expression in the United
Kingdom. The saying
inspired Peter Martin to
compose a highly
attractive piece in four
parts, consisting of
contemporary dances that
can also be performed
separately. Let's dance!
De titel is een
populair gezegde in
Engeland. Het betekent
vrij vertaald - waar het
geld zit. 'Where there's
muck there is power' is
zo'n gevleugelde
uitspraak uit het
Verenigd Koninkrijk. Het
gezegde inspireerde Peter
Martin tothet schrijven
van een bijzonder aardig
5-delig werk met moderne
dansen welke ook
gescheiden van elkaar
gespeeld kunnen worden.
Let's dance! 1. Easy does
it - Steady Rock Een
aanstekelijk stukje in
rock-stijl. De rockmuziek
bestaatvanaf begin 60-er
jaren en sindsdien is de
stijl populair gebleven
maar er is geen genre
waar zoveel bands de
grond in- en uitgestampt
worden. Maar het blijft
leuk. 2. Best Foot
Forward - mars positief
De grootste doemdenkers
wordenvrolijk bij het
aanhoren van een vrolijke
mars. De oorsprong van de
mars is niet te
achterhalen maar de stijl
blijft populair en
actueel. Best Foot
Forward is een op
Amerikaanse leest
geschoeide mars. 3. Swing
Bin - De swingstijldie
eind 20-er jaren in de VS
losbarstte was een
uitvloeisel van de
crisisjaren. Aangevoerd
door Benny Goodman en de
Dorsey Brothers (Tommy en
Jimmy) werd deze vorm een
rage die grote invloed
bleef houden op de
ontwikkeling vande
jazzmuziek. Stilzitten is
er niet bij want de
muziek nodigt uit tot het
losmaken van al die luie
spieren en waar kan dat
het beste? In de
concertzaal maar het
liefst op de dansvloer.
4. The Supreme Skedaddle
- alla US March
Eenuitsmijter vormt de
Supreme Skedaddle, een
mars in US-stijl. Het
woord skedaddle is een
interessant item voor
etymologen maar de
componist kent het woord
uit zijn Noord-Engelse
geboortegrond. Het
betekent daar
'verspilling vaniets'.
Maar de feestelijke mars
is beslist geen
verspilling van papier of
energie. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gustave Vogt's Musical Album of Autographs Cor anglais, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe SKU:
CF.WF229 15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229). ISBN
9781491153789. UPC:
680160911288. Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman. Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
at the apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather
of the modern oboeâ€
and the “premier
oboist of
Europe.â€Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Sixâ€
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s
first oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogtâ
€™s relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed
répétiteur, which
involved teaching the
younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839),
Apollon Marie-Rose Barret
(1804–1879),
Charles Triebert
(1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and
then to Marcel Tabuteau
(1887–1966), the
oboist Americans lovingly
describe as the
“father of American
oboe playing.â€Opera
was an important part of
Vogt’s life. His
first performing position
was with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz
(1803–1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opéra’s
performance of
Mehul’s Stratonice
and Persuis’
ballet Nina. It was in
response to the song
Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…â€
Shortly after this,
Berlioz gave up studying
medicine and focused on
music.Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave
Maria, with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt
(1815–1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none
of his superiority over
the oboe….
It’s always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to
Vogt’s
oboe.â€Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the
Société des
Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck
(1781–1849). The
group featured faculty
and students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770–1836).After
his retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave
Maria on English horn
with tenor Alexis Dupont
(1796–1874) in
1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of
Autographs.Autograph
AlbumsVogt’s
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes
(1504–1564) called
the Thesaurus Amicorum.
These books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand
tour†through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his “most valuable
contribution†came
from Beethoven in 1815.
Spohr’s
Notenstammbuch, comprised
only of musical entries,
is groundbreaking because
it was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s
Musical Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s
(1818–1893) Faust,
which premiered in 1859,
was submitted.Within this
album ... $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Christmas Variations Ensemble de cuivres [Conducteur] - Facile De Haske Publications
Brass Band - Grade 3 SKU: BT.DHP-0940569-230 Composed by Roland Kernen. C...(+)
Brass Band - Grade 3
SKU:
BT.DHP-0940569-230
Composed by Roland
Kernen. Christmas
Collection. Hymns &
Chorals. Score Only.
Composed 1994. De Haske
Publications #DHP
0940569-230. Published by
De Haske Publications
(BT.DHP-0940569-230).
This
arrangement is an
energetic march that
provides a spirited
setting for the familiar
bell melodies of the
season.The main tunes
featured are Carol of the
Bells, I Heard the Bells
and Jingle Bells, but you
will also hear several
other tunes woven into
the music.
Roland
Kernen schrieb eine Reihe
Variationen über den
bekannten Choral Es
ist ein Ros’
ensprungen von
Michael Praetorius, die
zusammen das
großartige Werk
Christmas
Variations bilden.
Nach einer reizvollen,
sehr schnellen
Eröffnung wird der
Choral auf verschiedene
Weisen präsentiert:
zuerst fröhlich, dann
feierlich. Nach einem
kurzen Zwischenspiel
folgt der Schluss, in dem
der Choral zwei Mal in
all seiner Pracht Revue
passiert.
Le
célèbre choral
Es ist ein Ros'
entsprungen (D’un
arbre séculaire) a
été écrit par le
compositeur allemand
Michael Praetorius
(1571-1621). Christmas
Variations de Roland
Kernen est une suite de
variations sur ce
choral. $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Studio-Pop Ensemble de cuivres [Conducteur et Parties séparées] - Facile De Haske Publications
Brass Band - Grade 2 SKU: BT.DHP-1043668-030 Composed by Kees Vlak. Flexi...(+)
Brass Band - Grade 2
SKU:
BT.DHP-1043668-030
Composed by Kees Vlak.
Flexible 4 Series.
Original Light Music. Set
(Score & Parts). Composed
2004. De Haske
Publications #DHP
1043668-030. Published by
De Haske Publications
(BT.DHP-1043668-030).
Studio-Pop
consists of five
movements. The first
movement, entitled
Marching on a String, is
an energetic rock march
in a modern rhythm. Next,
the charming Dreaming of
Summer has been composed
in three-four time -
which is quite unusual in
modern pop music. The
inspiration for the third
movement, Chicken-Charley
was a youngman selling
chicken legs from a
stall. His supple,
dancing movements can be
recognised in the music.
The fourth movement,
Candlelight is a modern,
attractive ballad.
Finally, Discoteca takes
us along on a night visit
to a Spanish discotheque.
The typically Spanish
chords and the stirring,
high-spirited rhythm
provide an exuberant
closing to
Studio-Pop.
Een
temperamentvol werk in
popstijl dat bestaat uit
vijf verschillende delen.
Een energieke rockmars in
een modern ritme wordt
gevolgd door een charmant
deel in driekwartsmaat -
in de moderne popmuziek
is dat vrij
uitzonderlijk.
Daaropvolgt een stukje
soepele dansmuziek. In
een moderne, sfeervolle
ballad zijn de
samenklanken vervolgens
spannend, maar ze lossen
steeds weer op in een
romantische stemming. Ten
slotte zorgen typisch
Spaanse akkoorden en een
opzwependritme voor een
uitbundige
afsluiting.
Ein
temperamentvolles Werk in
fünf Sätzen im
Pop-Stil. Ein
energiereicher Marsch in
einem modernen Rhythmus
wird gefolgt von einem
charmanten Satz im -
für Popmusik
ungewöhnlichen -
Dreivierteltakt. Der
dritte Satz wurde
inspiriert von einem
Hähnchenverkäufer
an der Riviera,
wohingegen der vierte,
eine moderne, romantische
Ballade gut als
Hintergrund zu einem
lauschigen Abendessen
dienen könnte.
Abgeschlossen wird dieses
unterhaltsame Werk von
einem nächtlichen
Besuch einer spanischen
Diskothek. Einfache
Musik, in der viel
steckt!
Studio-
Pop est une pièce
en cinq mouvements. 1.
Marching on a
String (“En
marchant sur une
cordeâ€), est une
marche aux inflexions de
rock qui affirme un
rythme dynamique et
moderne. 2. Dreaming
of Summer
(“Rêves
d’étéâ€
) est écrit dans un
chiffrage de mesure assez
inhabituel dans la
musique pop, la mesure
3/4. 3. Chicken
Charley, est
inspiré d’un
souvenir de vacances sur
la Côte d’Azur
où le compositeur a
été impressionné
par un jeune Antillais
vendeur de grillades de
cuisses de poulet. La
souplesse de ses
mouvements transparaît
dans la musique fortement
dansante. 4.
Candlelight
(“ la lueur
d’une
bougieâ€) est une
ballade gracieuse
etmoderne, qui pourrait
servir de toile de fond
un dîner charmant. Les
harmonisations sont
passionnantes, mais
trouvent toujours leur
résolution dans une
atmosphère romantique.
5. Discoteca vous
plonge dans la vie
nocturne d’une
discothèque espagnole.
Les accords typiquement
espagnols et le rythme
exaltant créent un
finale exubérant. $72.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Celtic Fake Book
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 256 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 256 pages.
Published by Hal Leonard.
(2)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Where there's Muck Ensemble de cuivres [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Brass Band - Grade 2 SKU: BT.GOB-000731-030 Composed by Peter Martin. Set...(+)
Brass Band - Grade 2
SKU:
BT.GOB-000731-030
Composed by Peter Martin.
Set (Score & Parts). 54
pages. Gobelin Music
Publications #GOB
000731-030. Published by
Gobelin Music
Publications
(BT.GOB-000731-030).
The title is a
popular saying in
England. It means that's
where the money is. Where
there's muck, there's
power is such a popular
expression in the United
Kingdom. The saying
inspired Peter Martin to
compose a highly
attractive piece in four
parts, consisting of
contemporary dances that
can also be performed
separately. Let's dance!
De titel is een
populair gezegde in
Engeland. Het betekent
vrij vertaald - waar het
geld zit. 'Where there's
muck there is power' is
zo'n gevleugelde
uitspraak uit het
Verenigd Koninkrijk. Het
gezegde inspireerde Peter
Martin tothet schrijven
van een bijzonder aardig
5-delig werk met moderne
dansen welke ook
gescheiden van elkaar
gespeeld kunnen worden.
Let's dance! 1. Easy does
it - Steady Rock Een
aanstekelijk stukje in
rock-stijl. De rockmuziek
bestaatvanaf begin 60-er
jaren en sindsdien is de
stijl populair gebleven
maar er is geen genre
waar zoveel bands de
grond in- en uitgestampt
worden. Maar het blijft
leuk. 2. Best Foot
Forward - mars positief
De grootste doemdenkers
wordenvrolijk bij het
aanhoren van een vrolijke
mars. De oorsprong van de
mars is niet te
achterhalen maar de stijl
blijft populair en
actueel. Best Foot
Forward is een op
Amerikaanse leest
geschoeide mars. 3. Swing
Bin - De swingstijldie
eind 20-er jaren in de VS
losbarstte was een
uitvloeisel van de
crisisjaren. Aangevoerd
door Benny Goodman en de
Dorsey Brothers (Tommy en
Jimmy) werd deze vorm een
rage die grote invloed
bleef houden op de
ontwikkeling vande
jazzmuziek. Stilzitten is
er niet bij want de
muziek nodigt uit tot het
losmaken van al die luie
spieren en waar kan dat
het beste? In de
concertzaal maar het
liefst op de dansvloer.
4. The Supreme Skedaddle
- alla US March
Eenuitsmijter vormt de
Supreme Skedaddle, een
mars in US-stijl. Het
woord skedaddle is een
interessant item voor
etymologen maar de
componist kent het woord
uit zijn Noord-Engelse
geboortegrond. Het
betekent daar
'verspilling vaniets'.
Maar de feestelijke mars
is beslist geen
verspilling van papier of
energie. $78.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Where there's Muck Ensemble de cuivres [Conducteur] - Facile Gobelin Music Publications
Brass Band - Grade 2 SKU: BT.GOB-000731-130 Composed by Peter Martin. Sco...(+)
Brass Band - Grade 2
SKU:
BT.GOB-000731-130
Composed by Peter Martin.
Score Only. 10 pages.
Gobelin Music
Publications #GOB
000731-130. Published by
Gobelin Music
Publications
(BT.GOB-000731-130).
The title is a
popular saying in
England. It means that's
where the money is. Where
there's muck, there's
power is such a popular
expression in the United
Kingdom. The saying
inspired Peter Martin to
compose a highly
attractive piece in four
parts, consisting of
contemporary dances that
can also be performed
separately. Let's dance!
De titel is een
populair gezegde in
Engeland. Het betekent
vrij vertaald - waar het
geld zit. 'Where there's
muck there is power' is
zo'n gevleugelde
uitspraak uit het
Verenigd Koninkrijk. Het
gezegde inspireerde Peter
Martin tothet schrijven
van een bijzonder aardig
5-delig werk met moderne
dansen welke ook
gescheiden van elkaar
gespeeld kunnen worden.
Let's dance! 1. Easy does
it - Steady Rock Een
aanstekelijk stukje in
rock-stijl. De rockmuziek
bestaatvanaf begin 60-er
jaren en sindsdien is de
stijl populair gebleven
maar er is geen genre
waar zoveel bands de
grond in- en uitgestampt
worden. Maar het blijft
leuk. 2. Best Foot
Forward - mars positief
De grootste doemdenkers
wordenvrolijk bij het
aanhoren van een vrolijke
mars. De oorsprong van de
mars is niet te
achterhalen maar de stijl
blijft populair en
actueel. Best Foot
Forward is een op
Amerikaanse leest
geschoeide mars. 3. Swing
Bin - De swingstijldie
eind 20-er jaren in de VS
losbarstte was een
uitvloeisel van de
crisisjaren. Aangevoerd
door Benny Goodman en de
Dorsey Brothers (Tommy en
Jimmy) werd deze vorm een
rage die grote invloed
bleef houden op de
ontwikkeling vande
jazzmuziek. Stilzitten is
er niet bij want de
muziek nodigt uit tot het
losmaken van al die luie
spieren en waar kan dat
het beste? In de
concertzaal maar het
liefst op de dansvloer.
4. The Supreme Skedaddle
- alla US March
Eenuitsmijter vormt de
Supreme Skedaddle, een
mars in US-stijl. Het
woord skedaddle is een
interessant item voor
etymologen maar de
componist kent het woord
uit zijn Noord-Engelse
geboortegrond. Het
betekent daar
'verspilling vaniets'.
Maar de feestelijke mars
is beslist geen
verspilling van papier of
energie. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Explorers on the Moon Ensemble de cuivres [Conducteur] - Intermédiaire/avancé De Haske Publications
Brass Band - Grade 6 SKU: BT.DHP-1196183-130 Composed by Paul Raphael. Co...(+)
Brass Band - Grade 6
SKU:
BT.DHP-1196183-130
Composed by Paul Raphael.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2019. 73 pages. De Haske
Publications #DHP
1196183-130. Published by
De Haske Publications
(BT.DHP-1196183-130).
English-German-French-
Dutch. Composed by
Paul Raphael,
Explorers on the
Moon, the sequel to
his 2017 work
Destination Moon,
was composed in 2019 to
commemorate the 50th
anniversary of the 1969
Moon Landings. It is
inspired by the Belgian
author Hergé and his
most famous creation,
Tintin. The music uses
Hergé’s story
from 1950 almost twenty
years prior to the first
ever moon landing -
following Tintin and his
fellow adventurers as
they become the first
humans on the Moon. This
fantastic piece is split
into three parts, titled
‘Space’,
‘Nightmare
Land’ and
‘The Journey
Home’ and is one
of the most spectacular
contest pieces in recent
years.
Explorer
s on the Moon is een
vervolg op Paul Raphaels
eerdere werk
Destination Moon
uit 2017. Het werd in
2019 gecomponeerd ter
gelegenheid van de
vijftigste gedenkdag van
de maanlanding in 1969.
De inspiratiebron was
Kuifje de beroemdste
creatie van de Belgische
auteur en striptekenaar
Georges Remi, die
bekender is onder zijn
pseudoniem Hergé. Het
uitgangspunt voor de
muziek is diens verhaal
uit 1950 waarin Kuifje en
zijn medeavonturiers de
maan bezoeken, bijna
twintig jaar voor de
eerste échte
maanlanding. Dit
fantastische werk, dat
uit drie delen
‘Space’,
‘Nightmare
Land’ en
‘The Journey
Home’ bestaat, is
een van de meest
spectaculaire
wedstrijdwerken
uitrecente jaren.
Explorers on
the Moon, komponiert
von Paul Raphael,
entstand 2019
anlässlich des 50.
Jahrestages der
Mondlandung (1969) und
ist die Fortsetzung
seines 2017 erschienenen
Werkes Destination
Moon. Das Stück
wurde von dem belgischen
Autor Hergé und seiner
berühmtesten
Erfindung, Tim und
Struppi, inspiriert.
Die Musik orientiert sich
an Hergés Geschichte
aus dem Jahr 1950, in der
Tim und seine Begleiter
als erste Menschen den
Mond betreten fast
zwanzig Jahre vor der
ersten Mondlandung.
Dieses fantastische
Stück besteht aus drei
Sätzen: Space“,
Nightmare Land“ und
The Journey Home“.
Es zählt zu den
spektakulärsten
Wettbewerbsstücken der
letzten
Jahre.
Écrite
par Paul Raphael en 2019
pour marquer le 50e
anniversaire des premiers
hommes sur la lune, en
1969, Explorers on the
Moon fait suite
Destination Moon,
du même compositeur.
Cette nouvelle Å“uvre
s’inspire de
l’auteur belge
Hergé et de sa
création la plus
célèbre, Tintin. La
musique est fondée sur
l’histoire de On a
marché sur la Lune,
qui fait suite
Objectif Lune,
histoire écrite en
1950 anticipant la
réalité de près
de vingt ans , qui
raconte l’aventure
de Tintin et de ses
compagnons sur notre
satellite. Cette
Å“uvre remarquable en
trois mouvements («
Space », «
Nightmare Land » et
« The Journey Home
») est une des
pièces de concours les
plusspectaculaires de ces
dernières
années. $47.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Explorers on the Moon Ensemble de cuivres [Conducteur et Parties séparées] - Intermédiaire/avancé De Haske Publications
Brass Band - Grade 6 SKU: BT.DHP-1196183-030 Composed by Paul Raphael. Co...(+)
Brass Band - Grade 6
SKU:
BT.DHP-1196183-030
Composed by Paul Raphael.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Set (Score & Parts).
Composed 2019. De Haske
Publications #DHP
1196183-030. Published by
De Haske Publications
(BT.DHP-1196183-030).
English-German-French-
Dutch. Composed by
Paul Raphael,
Explorers on the
Moon, the sequel to
his 2017 work
Destination Moon,
was composed in 2019 to
commemorate the 50th
anniversary of the 1969
Moon Landings. It is
inspired by the Belgian
author Hergé and his
most famous creation,
Tintin. The music uses
Hergé’s story
from 1950 almost twenty
years prior to the first
ever moon landing -
following Tintin and his
fellow adventurers as
they become the first
humans on the Moon. This
fantastic piece is split
into three parts, titled
‘Space’,
‘Nightmare
Land’ and
‘The Journey
Home’ and is one
of the most spectacular
contest pieces in recent
years.
Explorer
s on the Moon is een
vervolg op Paul Raphaels
eerdere werk
Destination Moon
uit 2017. Het werd in
2019 gecomponeerd ter
gelegenheid van de
vijftigste gedenkdag van
de maanlanding in 1969.
De inspiratiebron was
Kuifje de beroemdste
creatie van de Belgische
auteur en striptekenaar
Georges Remi, die
bekender is onder zijn
pseudoniem Hergé. Het
uitgangspunt voor de
muziek is diens verhaal
uit 1950 waarin Kuifje en
zijn medeavonturiers de
maan bezoeken, bijna
twintig jaar voor de
eerste échte
maanlanding. Dit
fantastische werk, dat
uit drie delen
‘Space’,
‘Nightmare
Land’ en
‘The Journey
Home’ bestaat, is
een van de meest
spectaculaire
wedstrijdwerken
uitrecente jaren.
Explorers on
the Moon, komponiert
von Paul Raphael,
entstand 2019
anlässlich des 50.
Jahrestages der
Mondlandung (1969) und
ist die Fortsetzung
seines 2017 erschienenen
Werkes Destination
Moon. Das Stück
wurde von dem belgischen
Autor Hergé und seiner
berühmtesten
Erfindung, Tim und
Struppi, inspiriert.
Die Musik orientiert sich
an Hergés Geschichte
aus dem Jahr 1950, in der
Tim und seine Begleiter
als erste Menschen den
Mond betreten fast
zwanzig Jahre vor der
ersten Mondlandung.
Dieses fantastische
Stück besteht aus drei
Sätzen: Space“,
Nightmare Land“ und
The Journey Home“.
Es zählt zu den
spektakulärsten
Wettbewerbsstücken der
letzten
Jahre.
Écrite
par Paul Raphael en 2019
pour marquer le 50e
anniversaire des premiers
hommes sur la lune, en
1969, Explorers on the
Moon fait suite
Destination Moon,
du même compositeur.
Cette nouvelle Å“uvre
s’inspire de
l’auteur belge
Hergé et de sa
création la plus
célèbre, Tintin. La
musique est fondée sur
l’histoire de On a
marché sur la Lune,
qui fait suite
Objectif Lune,
histoire écrite en
1950 anticipant la
réalité de près
de vingt ans , qui
raconte l’aventure
de Tintin et de ses
compagnons sur notre
satellite. Cette
Å“uvre remarquable en
trois mouvements («
Space », «
Nightmare Land » et
« The Journey Home
») est une des
pièces de concours les
plusspectaculaires de ces
dernières
années. $223.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Studio-Pop [Conducteur] - Facile De Haske Publications
4-Part Flexible Band - Grade 2 SKU: BT.DHP-1043668-170 Composed by Kees V...(+)
4-Part Flexible Band -
Grade 2 SKU:
BT.DHP-1043668-170
Composed by Kees Vlak.
Flexible 4 Series.
Original Light Music.
Score Only. Composed
2004. De Haske
Publications #DHP
1043668-170. Published by
De Haske Publications
(BT.DHP-1043668-170).
Studio-Pop
consists of five
movements. The first
movement, entitled
Marching on a String, is
an energetic rock march
in a modern rhythm. Next,
the charming Dreaming of
Summer has been composed
in three-four time -
which is quite unusual in
modern pop music. The
inspiration for the third
movement, Chicken-Charley
was a youngman selling
chicken legs from a
stall. His supple,
dancing movements can be
recognised in the music.
The fourth movement,
Candlelight is a modern,
attractive ballad.
Finally, Discoteca takes
us along on a night visit
to a Spanish discotheque.
The typically Spanish
chords and the stirring,
high-spirited rhythm
provide an exuberant
closing to
Studio-Pop.
Een
temperamentvol werk in
popstijl dat bestaat uit
vijf verschillende delen.
Een energieke rockmars in
een modern ritme wordt
gevolgd door een charmant
deel in driekwartsmaat -
in de moderne popmuziek
is dat vrij
uitzonderlijk.
Daaropvolgt een stukje
soepele dansmuziek. In
een moderne, sfeervolle
ballad zijn de
samenklanken vervolgens
spannend, maar ze lossen
steeds weer op in een
romantische stemming. Ten
slotte zorgen typisch
Spaanse akkoorden en een
opzwependritme voor een
uitbundige
afsluiting.
Ein
temperamentvolles Werk in
fünf Sätzen im
Pop-Stil. Ein
energiereicher Marsch in
einem modernen Rhythmus
wird gefolgt von einem
charmanten Satz im -
für Popmusik
ungewöhnlichen -
Dreivierteltakt. Der
dritte Satz wurde
inspiriert von einem
Hähnchenverkäufer
an der Riviera,
wohingegen der vierte,
eine moderne, romantische
Ballade gut als
Hintergrund zu einem
lauschigen Abendessen
dienen könnte.
Abgeschlossen wird dieses
unterhaltsame Werk von
einem nächtlichen
Besuch einer spanischen
Diskothek. Einfache
Musik, in der viel
steckt! $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sardanapalo, Act 1 (Fragment) Piano, Voix EMB (Editio Musica Budapest)
Voice and Piano SKU: BT.EMBZ20017A New Liszt Edition, Series IX. Vol.2...(+)
Voice and Piano SKU:
BT.EMBZ20017A New
Liszt Edition, Series IX.
Vol.2.. By David
Trippett. By Franz Liszt.
EMB New Listz Edition.
Classical. Book
Hardcover. Composed 2019.
180 pages. Editio Musica
Budapest #EMBZ20017A.
Published by Editio
Musica Budapest
(BT.EMBZ20017A).
English-German-Hungari
an. In 1845 Franz
Liszt embarked on a
project to compose an
Italian opera based on
Lord Byron’s
tragedy, Sardanapalus
(1821). It was central to
his ambition to attain
status as a major
European composer, with
premieres variously
planned for Milan,
Vienna, Paris and London.
But he abandoned it half
way through, and the
music he completed has
lain silently for 170
years.
Liszt’s difficulty
in obtaining a libretto
meant that composition
only began in April 1850.
He completed virtually
all the music for Act 1
in an annotated
piano-vocal score of 111
pages, contained within
his N4 music
‘sketch
book’. The unnamed
librettist was an Italian
poet and political
prisoner, seemingly
living under house
arrest, and a close
acquaintance of Cristina
Belgiojoso. His libretto
survives as underlay in
the N4 sketchbook and has
been critically
reconstructed and
translated.
Sardanapalo is
Liszt’s only
mature opera. While he
consistently referred to
it in French, as
Sardanapale, the
published title of the
Italian opera would
almost certainly have
used the Italian name,
hence this forms the
title of the first
edition. There are three
solo roles and a chorus
of concubines. The
manuscript was previously
thought to be fragmentary
and partially illegible,
but it was finally
deciphered to
international acclaim in
March 2017.
Liszt’s score
offers a richly melodic
style, with elements from
Bellini and Verdi
alongside glimmers of
Wagner and the symphonic
poems ahead: a unique
mixture of Italianate
pastiche and mid-century
harmonic innovation. It
remains quintessentially
Lisztian. The opera sets
Byron’s tragedy
about war and peace in
ancient Assyria: the last
King, effeminate in his
tastes, is drawn to wine,
concubines and feasts
more than politics and
war: his subjects find
him dishonourable (a
‘man queen’)
and military rebels seek
to overthrow him, but are
pardoned, for the King
rejects the ‘deceit
of glory’ built on
others’ suffering:
this leads only to a
larger uprising, the
Euphrates floods its
banks, destroying the
castle’s main
defensive wall, and
defeat is inevitable: the
King sends his family
away and orders that he
be burned alive with his
lover, amid scents and
spices in a grand
inferno. As Byron put it:
‘not a mere pillar
formed of cloud and
flame, but a light to
lessen ages.’ For
his part, Liszt told a
friend that his finale
‘will even aim to
set fire to the entire
audience!’
This critical edition
includes a detailed study
on the genesis of
Liszt’s
Sardanapalo in English,
German, and Hungarian,
the libretto in the
original Italian as well
as in English, German,
and Hungarian
translation, several
facsimile pages of
Liszt’s
manuscript, and a
detailed Critical
Report. $130.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Christmas Prelude Ensemble de cuivres [Conducteur] - Facile De Haske Publications
Brass Band - Grade 3 SKU: BT.DHP-1033486-130 On 'O, Come all ye faithf...(+)
Brass Band - Grade 3
SKU:
BT.DHP-1033486-130
On 'O, Come all ye
faithful'. Composed
by John Blanken.
Christmas Collection.
Hymns & Chorals. Score
Only. Composed 2003. De
Haske Publications #DHP
1033486-130. Published by
De Haske Publications
(BT.DHP-1033486-130).
Christmas
Prelude is a festive
composition on the
Christmas carol O
Come, All Ye
Faithful. A quiet,
march-like introduction,
representing the
procession to worship, is
followed by three verses
of the well-known carol:
once from a quartet, then
shared between the
various instrumental
groups. A festively
embellished section leads
to an interlude
symbolising the start of
Christmas celebrations,
before a spectacular
conclusion.
Christmas
Prelude is een
bewerking over het
kerstlied O Come, All
Ye Faithful (Komt
allen tezamen), ook wel
bekend als Adeste
Fidelis en vormt de
basis van dit feestelijke
openingswerk voor uw
kerstconcert. De
marsachtige inleiding
staat voor het samenkomen
voor de dienst. Daarna
volgen in verschillende
instrumentaties drie
strofes van het bekende
kerstlied. Na een reeks
versieringen van het
thema die het begin van
de kersttijd inluiden
volgt een spectaculair
slot.
Christmas
Prelude ist eine
Bearbeitung des
Weihnachtsliedes
Herbei , o ihr
Gläubigen. Auf
eine ruhige,
marschähnliche
Einleitung, welche die
Versammlung zum
Gottesdienst darstellt,
folgen drei Strophen des
bekannten
Weihnachtsliedes, einmal
von einem Quartett, dann
über die
Instrumentengruppen
verteilt gespielt.
Festliche Verzierungen
und ein Zwischenspiel,
das den Beginn des
Weihnachtsfestes
symbolisiert,
führen das Werk zu
einem spektakulären
Schluss. Es darf auch
mitgesungen
werden!
Christm
as Prelude est un
arrangement de
l’hymne Adeste
Fideles (Peuple
_x001C_fidèle). Cette
incontournable pièce
de Noël pourra être
interprétée avec
choeur et orgue. John
Blanken vous propose une
version inédite de
l’oeuvre : le
premier verset sera
chanté par un soliste,
le deuxième verset par
un choeur quatre voix.
Pour _x001C_finir, le
troisième verset sera
interprété par
l’ensemble de
l’assemblée.
Christmas
Prelude è un
arrangiamento
dell’inno
Adeste Fideles.
L’apertura
tranquilla e simile a una
marcia che rappresenta la
congregazione religiosa,
è seguita da tre
strofe del celebre canto
natalizio, una volta
eseguito da un quartetto,
in seguito
dall’intero
organico. Ornamentazioni
festose che simboleggiano
l’inizio della
festivit , conducono il
brano a uno spettacolare
_x001E_finale. $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Christmas Prelude Ensemble de cuivres - Facile De Haske Publications
Brass Band - Grade 3 SKU: BT.DHP-1033486-030 On 'O, Come all ye faithf...(+)
Brass Band - Grade 3
SKU:
BT.DHP-1033486-030
On 'O, Come all ye
faithful'. Composed
by John Blanken.
Christmas Collection.
Christmas. Set (Score and
Parts). Composed 2003. De
Haske Publications #DHP
1033486-030. Published by
De Haske Publications
(BT.DHP-1033486-030).
Christmas
Prelude is a festive
composition on the
Christmas carol O
Come, All Ye
Faithful. A quiet,
march-like introduction,
representing the
procession to worship, is
followed by three verses
of the well-known carol:
once from a quartet, then
shared between the
various instrumental
groups. A festively
embellished section leads
to an interlude
symbolising the start of
Christmas celebrations,
before a spectacular
conclusion.
Christmas
Prelude is een
bewerking over het
kerstlied O Come, All
Ye Faithful (Komt
allen tezamen), ook wel
bekend als Adeste
Fidelis en vormt de
basis van dit feestelijke
openingswerk voor uw
kerstconcert. De
marsachtige inleiding
staat voor het samenkomen
voor de dienst. Daarna
volgen in verschillende
instrumentaties drie
strofes van het bekende
kerstlied. Na een reeks
versieringen van het
thema die het begin van
de kersttijd inluiden
volgt een spectaculair
slot.
Christmas
Prelude ist eine
Bearbeitung des
Weihnachtsliedes
Herbei , o ihr
Gläubigen. Auf
eine ruhige,
marschähnliche
Einleitung, welche die
Versammlung zum
Gottesdienst darstellt,
folgen drei Strophen des
bekannten
Weihnachtsliedes, einmal
von einem Quartett, dann
u?ber die
Instrumentengruppen
verteilt gespielt.
Festliche Verzierungen
und ein Zwischenspiel,
das den Beginn des
Weihnachtsfestes
symbolisiert, fu?hren das
Werk zu einem
spektakulären Schluss.
Es darf auch mitgesungen
werden!
Christm
as Prelude est un
arrangement de lâ??hymne
Adeste Fideles
(Peuple
_x001C_fidèle). Cette
incontournable pièce
de Noël pourra être
interprétée avec
choeur et orgue. John
Blanken vous propose une
version inédite de
lâ??oeuvre : le premier
verset sera chanté par
un soliste, le
deuxième verset par un
choeur quatre voix. Pour
_x001C_finir, le
troisième verset sera
interprété par
lâ??ensemble de
lâ??assemblée.
Christmas
Prelude è un
arrangiamento
dellâ??inno Adeste
Fideles.
Lâ??apertura tranquilla
e simile a una marcia che
rappresenta la
congregazione religiosa,
è seguita da tre
strofe del celebre canto
natalizio, una volta
eseguito da un quartetto,
in seguito dallâ??intero
organico. Ornamentazioni
festose che simboleggiano
lâ??inizio della
festivit , conducono il
brano a uno spettacolare
_x001E_finale. $72.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Music with Robert Schumann Orchestre Breitkopf & Härtel
Orchestra (2.2.2.2. - 4.3.3.0. - timp.perc - hp -str) SKU: BR.PB-4862-07 ...(+)
Orchestra (2.2.2.2. -
4.3.3.0. - timp.perc - hp
-str) SKU:
BR.PB-4862-07
Study score.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library). World
premiere: Hannover, March
13, 1972 Music
post-1945. Study Score.
Composed 1972. 82 pages.
Duration 15'. Breitkopf
and Haertel #PB 4862-07.
Published by Breitkopf
and Haertel
(BR.PB-4862-07). ISBN
9790004206591. 7 x 9.5
inches. Variationen
(Ouverture / Thema /
Variation / Coda),
Lyrisches Intermezzo
(Sostenuto), Symphonische
Nachklange (Allegro con
moto).Immer wieder lassen
sich Komponisten von
Themen alterer oder auch
zeitgenossischer Meister
zu Variations-Zyklen
anregen (Brahms: Handel-
und Haydn-Variationen,
Reger:
Mozart-Variationen,
Holler:
Sweelinck-Variationen).
Themen von Robert
Schumann fanden bisher
relativ selten Beachtung
- (Regers
Schumann-Variationen fur
zwei Klaviere sind eine
Ausnahme) - vielleicht,
weil sie zu sehr in sich
vollendet und
abgeschlossen sind und
deshalb kaum
Moglichkeiten zur
Veranderung enthalten.
Dennoch beschaftigte mich
schon langer die Idee,
eine ,,Musik mit
Schumann, Nachklange oder
Erinnerungen an Schumann
zu gestalten, mit der
Absicht, ein heiteres,
liebenswurdiges (und
nachdenkliches) Werk zu
schreiben, einmal ohne
Experimente-, als
,,Divertimento fur den
Normalhorer, gelegentlich
behutsam verbunden mit
modernen Techniken -
nicht ohne
hintergrundigen Humor.
Der 1. Satz wurde
inspiriert von den
,,Papillons (opus 2 fur
Klavier); er gliedert
sich in vier
variationsahnliche
Abschnitte. Die
,,Ouverture exponiert
drei kurze Themen, die
sich trotz ihres
gegensatzlichen
Charakters wie
selbstverstandlich
erganzen
(Einleitungsgirlande und
Schlussfanfare der
Papillons und das
bekannte Anfangsmotiv aus
,,Vogel als Prophet). Die
Abschnitte ,,Thema,
,,Variationen und ,,Coda
entwickeln und verandern
das Hauptthema der
,,Papillons; dieses
dominiert uber weite
Strecken des Satzes und
wird mit den Motiven der
Ouverture kombiniert.
Vielfaltig gegliedert ist
das ,,Lyrische
Intermezzo. Zu Beginn
gewinnt ein Motiv aus den
,,Nachtstucken (fur
Klavier) Bedeutung,
taucht mehrere Male auf,
von mehrtonigen b-a-c-h
Clustern ,,gestort. Im
Mittelpunkt stehen das
Thema des 2. Satzes der
g-moll Klavier-Sonate op.
22 (ein Mondnachtlied
ohne Worte; Holzblaser)
und ein Adagio-Gedanke
aus dem Klavier-Zyklus
,,Kreisleriana (tiefe
Streicher); beide Themen
werden kontrapunktiert
von zwolftonigen
Strukturen und
Klangbandern
(Holzblaser). Die
,,Fruhlings-Symphonie-Fan
fare eroffnet das Finale.
Danach bilden sich uber
rotierenden Klangflachen
(Streicher) einzelne Tone
und Intervalle,
aleatorisch frei,
verdichten sich, wie aus
der Erinnerung
auftauchend, zu Motiven
aus Schumanns
bekanntester Symphonie.
Nach diesem zogernden
Beginn entwickelt sich
ein fast klassisch
anmutender
Sonaten-Durchfuhrungsteil
mit mehreren melodischen
Gedanken (Kopfmotiv der
g-moll Klaviersonate,
tanzerische und ostinate
Themen aus der
Fruhlings-Symphonie), die
zum Teil in- und
ubereinander geschichtet
werden, bis auf dem
Hohepunkt des Satzes das
Schlussthema der
Klavierfantasie op. 17,
pathetisch-ironisch in
den Blechblasern
erklingt. Eine kurze
Reprise mit dem
Hauptgedanken fuhrt zur
Anfangsfanfare zuruck;
der Satz verklingt im
pianissimo. Wollte man
dem ganzen opus ein Motto
voranstellen, dann die
Schumann-Uberschrift (aus
den Kinderszenen) :
,,Fast zu ernst - aber
eben nur ,,fast. (Jurg
Baur)CD:Sinfonieorchester
des Bayerischen
Rundfunks, cond.
Hanns-Martin SchneidtCD
Thorofon CTH 2270
Bibliography:Wallerang,
Lars: Die Orchesterwerke
Jurg Baurs als Dialog
zwischen Tradition und
Moderne, Koln: Dohr
2003.Nonnenmann, Rainer:
Vergegenwartigungen.
Umgang mit historischem
Material bei Zimmermann,
Baur, Killmayer, Schnebel
und Zender, in: Jurg
Baur, hrsg. von Ulrich
Tadday (= Musik-Konzepte.
Neue Folge, Heft
184/185), Munchen:
Edition Text+Kritik 2019,
S. 26-46. $79.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Circus Time Saxophone Alto [Partition + CD] - Facile De Haske Publications
Alto Saxophone - early intermediate SKU: BT.DHP-1125244-400 14 showsto...(+)
Alto Saxophone - early
intermediate SKU:
BT.DHP-1125244-400
14 showstoppers for
alto saxophone play-along
performance. Composed
by Joachim Johow. Book
with CD. Composed 2012.
20 pages. De Haske
Publications #DHP
1125244-400. Published by
De Haske Publications
(BT.DHP-1125244-400).
ISBN 9789043141734.
9x12 inches.
English-German-French-Dut
ch. The band
strikes up the circus
march for the entrance of
the artistes—the
audience waits
expectantly…Between
the Opening March
and the Grand
Finale the packed
audience is presented
with a colourful
programme: courageous
acrobats, comical clowns,
oriental belly dancers,
knife-throwers and snake
charmers appear one after
the other.Circus
Time is also
available for flute,
clarinet and violin (in
the same sounding key).
This opens up all sorts
of choices: musicians can
take turns to perform or
build a real circus band,
or even—with the
help of scenery and
props—put on a
proper circus
performance. There is no
end of possibilities!The
accompanyingCD contains
demo and play-along
version of all the
pieces. Alternatively the
chord symbols (written in
concert pitch) above the
music staff can be used
for a live accompaniment
by guitar and/or
keyboard. An optional
piano accompaniment is
available separately
(order number: DHP
1125344-401).On with the
show!
Het orkest
begint de circusmars te
spelen voordat de
artiesten opkomen - het
publiek wacht vol
spanning af…Van de
openingsmars tot de grand
finale krijgen de
toeschouwers een
kleurrijk programma
voorgeschoteld: moedige
acrobaten,grappige
clowns,
oostersebuikdanseressen,
messenwerpers en
slangenbezweerders volgen
elkaar op in de
piste.Circus Time
is ook beschikbaar voor
dwarsfluit, klarinet en
viool (in dezelfde
klinkende toonsoort). Er
zijn dus
allerleimogelijkheden: de
muzikanten kunnen elkaar
afwisselen met
solo-optredens of een
echt circusorkest vormen,
of zelfs - in een
geschikte omgeving en met
behulp van decorstukken -
een heus circusoptreden
verzorgen. Laat je
fantasiede vrije loop.De
bijgevoegde cd bevat
zowel demotracks als
begeleidingen voor alle
stukken. Voor live
begeleiding door keyboard
en/of gitaar staan de
akkoordsymbolen (klinkend
genoteerd) boven de
muziek. Optionele
pianobegeleidingenzijn
apart verkrijgbaar
(bestelnummer: DHP
1125344-401).Laat de show
maar beginnen!
Die
Kapelle spielt schon den
Zirkusmarsch zum Einzug
der Artisten - das
Publikum wartet
gespannt...Zwischen dem
Eröffnungsmarsch und dem Großen
Finale wird dem
geneigten Publikum ein
buntes Programm
präsentiert: Mutige
Akrobaten, lustige
Clowns, orientalische
Bauchtänzerinnen,
Messerwerfer und
Schlangenbeschwörer
treten nacheinander
auf.Circus Time
gibt es auch für
Klarinette, Querflöte
und Violine (in den
gleichen klingenden
Tonarten). So eröffnen
sich viele
Möglichkeiten
für die
Aufführung: Die
Musiker können
abwechselnd auftreten
oder ein ganzes
Zirkusorchester“
bilden und sogar -
ergänzt durch eine
szenische Umsetzung -
eine
richtigeZirkusvorstellung
geben. Der Fantasie sind
keine Grenzen gesetzt!Die
beiliegende CD enthält
Demo- und
Mitspielversionen aller
Stücke. Alternativ
zu den Mitspiel-Tracks
können die
Akkordsymbole (in
klingenden Tonarten)
über den Noten
für eine
Live-Begleitung durch
Keyboard und/oder Gitarre
genutzt werden. Optional
sind Klavierbegleitungen
separat erhältlich
(Bestellnummer: DHP
1125344-401).Manege frei!
L’orchestr
e du cirque attaque la
marche qui annonce
l’apparition des
artistes - le public
attend
impatiemment…Entre
la marche
d’ouverture et le
finale, grands et petits
savourent un programme
haut en couleurs :
acrobates audacieux,
clowns comiques,
danseuses orientales,
jongleurs et charmeurs de
serpents présentent
tour tour leur
numéro.Circus
Time existe
également pour fl te,
clarinette et violon
(dans la même
tonalité). Ce choix
offre de nombreuses
options : les musiciens
peuvent jouer tour tour
ou former un véritable
orchestre de cirque, ou
même - avec des
décors et des
accessoires - monter une
vraie représentation
de cirque. Les
possibilités sont
illimitées!Le
compact-disc ci-joint
contient les versions
intégrales des
morceaux ainsi que les
versions
d’accompagnement.
Les symboles
d’accords (sons
réels) figurant
au-dessus de la portée
facilitent
l’accompagnement
la guitare et/ou au
piano. Les parties
d’accompagnement
de piano optionel sont
rassemblées dans un
recueil vendu
séparément
(référence
:DHP_x001F_1125344-401).Q
ue le spectacle commence
!
Un viaggio nel
mondo circense che
consente ai musicisti di
suonare da soli, ma anche
di formare una vera band.
Il CD contiene una
versione demo e una
play-long di ogni brano.
In alternativa, grazie ai
simboli degli accordi
sopra il pentagramma, ci
si può esibire live
accompagnati dalla
chitarra e/o tastiera
(DHP 1125344-401). $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Circus Time - Piano Accompaniment Accompagnement Piano - Facile De Haske Publications
Piano Accompaniment - early intermediate SKU: BT.DHP-1125344-401 Composed...(+)
Piano Accompaniment -
early intermediate
SKU:
BT.DHP-1125344-401
Composed by Joachim
Johow. Book Only.
Composed 2012. 36 pages.
De Haske Publications
#DHP 1125344-401.
Published by De Haske
Publications
(BT.DHP-1125344-401).
ISBN 9789043142342.
9x12 inches.
English-German-French-Dut
ch. The band
strikes up the circus
march for the entrance of
the artistesâthe
audience waits
expectantlyââ¬Â¦
Between the Opening
March and the
Grand Finale the
packed audience is
presented with a
colourful programme:
courageous acrobats,
comical clowns, oriental
belly dancers,
knife-throwers and snake
charmers appear one after
the other.Circus
Time is also
available for flute,
clarinet and alto
saxophone (in the same
sounding key). This opens
up all sorts of choices:
musicians can take turns
to perform or build a
real circus band, or
evenâwith the help
of scenery and
propsâput on a
proper circus
performance. There is no
end of
possibilities!Theaccompan
ying CD contains demo and
play-along version of all
the pieces. Alternatively
the chord symbols
(written in concert
pitch) above the music
staff can be used for a
live accompaniment by
guitar and/or keyboard.
An optional piano
accompaniment is
available separately
(order number: DHP
1125344-401).On with the
show!
Het orkest
begint de circusmars te
spelen voordat de
artiesten opkomen - het
publiek wacht vol
spanning
afââ¬Â¦Van de
openingsmars tot de grand
finale krijgen de
toeschouwers een
kleurrijk programma
voorgeschoteld: moedige
acrobaten, grappige
clowns,
oostersebuikdanseressen,
messenwerpers en
slangenbezweerders volgen
elkaar op in de
piste.Circus Time
is ook beschikbaar voor
dwarsfluit, klarinet en
altsaxofoon (in dezelfde
klinkende toonsoort). Er
zijn dus allerlei
mogelijkheden: de
muzikanten kunnen elkaar
afwisselen met
solo-optredens of een
echt circusorkest vormen,
of zelfs - in een
geschikte omgeving en met
behulp van decorstukken -
een heus circusoptreden
verzorgen. Laatje
fantasie de vrije loop.De
bijgevoegde cd bevat
zowel demotracks als
begeleidingen voor alle
stukken. Voor live
begeleiding door keyboard
en/of gitaar staan de
akkoordsymbolen (klinkend
genoteerd) boven de
muziek. Optionele
pianobegeleidingen zijn
apart verkrijgbaar
(bestelnummer: DHP
1125344-401).Laat de show
maar beginnen!
Die Kapelle
spielt schon den
Zirkusmarsch zum Einzug
der Artisten - das
Publikum wartet
gespannt...Zwischen dem
Eröffnungsmarsc
h und dem
Großen
Finale wird dem
geneigten Publikum ein
buntes Programm
präsentiert:
Mutige Akrobaten, lustige
Clowns, orientalische
Bauchtänzerinnen,
Messerwerfer und
Schlangenbeschwöre
r treten nacheinander
auf.Circus Time
gibt es auch fuÌr
Klarinette, Altsaxophon
und Querflöte (in
den gleichen klingenden
Tonarten). So
eröffnen sich
viele
Möglichkeiten
fuÌr die
AuffuÌhrung: Die
Musiker können
abwechselnd auftreten
oder ein ganzes
Zirkusorchesterââ¬
Å bilden und sogar -
ergänzt durch eine
szenische Umsetzung -
einerichtige
Zirkusvorstellung geben.
Der Fantasie sind keine
Grenzen gesetzt!Die
beiliegende CD
enthält Demo- und
Mitspielversionen aller
StuÌcke. Alternativ zu
den Mitspiel-Tracks
können die
Akkordsymbole (in
klingenden Tonarten)
uÌber den Noten
fuÌr eine
Live-Begleitung durch
Keyboard und/oder Gitarre
genutzt werden. Optional
sind Klavierbegleitungen
separat erhältlich
(Bestellnummer: DHP
1125344-401).Manege frei!
Lââ¬â¢
orchestre du cirque
attaque la marche qui
annonce
lââ¬â¢appariti
on des artistes - le
public attend
impatiemmentââ¬Â
Entre la marche
dââ¬â¢ouvertur
e et le finale, grands et
petits savourent un
programme haut en
couleurs : acrobates
audacieux, clowns
comiques, danseuses
orientales, jongleurs et
charmeurs de serpents
présentent tour
tour leur
numéro.Circus
Time existe
également pour fl
te, clarinette et alto
saxophone (dans la
même
tonalité). Ce
choix offre de nombreuses
options : les musiciens
peuvent jouer tour tour
ou former un
véritable
orchestre de cirque, ou
même - avec des
décors et des
accessoires - monter une
vraie
représentation de
cirque. Les
possibilités
sontillimitées !Le
compact-disc ci-joint
contient les versions
intégrales des
morceaux ainsi que les
versions
dââ¬â¢accompag
nement. Les symboles
dââ¬â¢accords
(sons réels)
figurant au-dessus de la
portée facilitent
lââ¬â¢accompag
nement la guitare et/ou
au piano. Les parties
dââ¬â¢accompag
nement de piano optionel
sont rassemblées
dans un recueil vendu
séparément
(référence
:DHP_x001F_1125344-401).Q
ue le spectacle commence
!
Un viaggio nel
mondo circense che
consente ai musicisti di
suonare da soli, ma anche
di formare una vera band.
Il CD contiene una
versione demo e una
play-long di ogni brano.
In alternativa, grazie ai
simboli degli accordi
sopra il pentagramma, ci
si può esibire
live accompagnati dalla
chitarra e/o tastiera
(DHP 1125344-401). $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Circus Time Clarinette [Partition + CD] - Facile De Haske Publications
Clarinet - early intermediate SKU: BT.DHP-1125243-400 14 showstoppers ...(+)
Clarinet - early
intermediate SKU:
BT.DHP-1125243-400
14 showstoppers for
clarinet play-along
performance. Composed
by Joachim Johow. Book
with CD. Composed 2012.
20 pages. De Haske
Publications #DHP
1125243-400. Published by
De Haske Publications
(BT.DHP-1125243-400).
ISBN 9789043141727.
9x12 inches.
English-German-French-Dut
ch. The band
strikes up the circus
march for the entrance of
the artistes—the
audience waits
expectantly…Between
the Opening March
and the Grand
Finale the packed
audience is presented
with a colourful
programme: courageous
acrobats, comical clowns,
oriental belly dancers,
knife-throwers and snake
charmers appear one after
the other.Circus
Time is also
available for flute, alto
saxophone and violin (in
the same sounding key).
This opens up all sorts
of choices: musicians can
take turns to perform or
build a real circus band,
or even—with the
help of scenery and
props—put on a
proper circus
performance. There is no
end of
possibilities!Theaccompan
ying CD contains demo and
play-along version of all
the pieces. Alternatively
the chord symbols
(written in concert
pitch) above the music
staff can be used for a
live accompaniment by
guitar and/or keyboard.
An optional piano
accompaniment is
available separately
(order number: DHP
1125344-401).On with the
show!
Het orkest
begint de circusmars te
spelen voordat de
artiesten opkomen - het
publiek wacht vol
spanning af…Van de
openingsmars tot de grand
finale krijgen de
toeschouwers een
kleurrijk programma
voorgeschoteld: moedige
acrobaten,grappige
clowns,
oostersebuikdanseressen,
messenwerpers en
slangenbezweerders volgen
elkaar op in de
piste.Circus Time
is ook beschikbaar voor
dwarsfluit, altsaxofoon
en viool (in dezelfde
klinkende toonsoort). Er
zijn dusallerlei
mogelijkheden: de
muzikanten kunnen elkaar
afwisselen met
solo-optredens of een
echt circusorkest vormen,
of zelfs - in een
geschikte omgeving en met
behulp van decorstukken -
een heus circusoptreden
verzorgen. Laat je
fantasiede vrije loop.De
bijgevoegde cd bevat
zowel demotracks als
begeleidingen voor alle
stukken. Voor live
begeleiding door keyboard
en/of gitaar staan de
akkoordsymbolen (klinkend
genoteerd) boven de
muziek. Optionele
pianobegeleidingenzijn
apart verkrijgbaar
(bestelnummer: DHP
1125344-401).Laat de show
maar beginnen!
Die
Kapelle spielt schon den
Zirkusmarsch zum Einzug
der Artisten - das
Publikum wartet
gespannt...Zwischen dem
Eröffnungsmarsch und dem Großen
Finale wird dem
geneigten Publikum ein
buntes Programm
präsentiert: Mutige
Akrobaten, lustige
Clowns, orientalische
Bauchtänzerinnen,
Messerwerfer und
Schlangenbeschwörer
treten nacheinander
auf.Circus Time
gibt es auch für
Querflöte, Altsaxophon
und Violine (in den
gleichen klingenden
Tonarten). So eröffnen
sich viele
Möglichkeiten
für die
Aufführung: Die
Musiker können
abwechselnd auftreten
oder ein ganzes
Zirkusorchester“
bilden und sogar -
ergänzt durch eine
szenische Umsetzung -
einerichtige
Zirkusvorstellung geben.
Der Fantasie sind keine
Grenzen gesetzt!Die
beiliegende CD enthält
Demo- und
Mitspielversionen aller
Stücke. Alternativ
zu den Mitspiel-Tracks
können die
Akkordsymbole (in
klingenden Tonarten)
über den Noten
für eine
Live-Begleitung durch
Keyboard und/oder Gitarre
genutzt werden. Optional
sind Klavierbegleitungen
separat erhältlich
(Bestellnummer: DHP
1125344-401).Manege frei!
L’orchestr
e du cirque attaque la
marche qui annonce
l’apparition des
artistes - le public
attend
impatiemment…Entre
la marche
d’ouverture et le
finale, grands et petits
savourent un programme
haut en couleurs :
acrobates audacieux,
clowns comiques,
danseuses orientales,
jongleurs et charmeurs de
serpents présentent
tour tour leur
numéro.Circus
Time existe
également pour fl te,
saxophone alto et violon
(dans la même
tonalité). Ce choix
offre de nombreuses
options : les musiciens
peuvent jouer tour tour
ou former un véritable
orchestre de cirque, ou
même - avec des
décors et des
accessoires - monter une
vraie représentation
de cirque. Les
possibilités
sontillimitées !Le
compact-disc ci-joint
contient les versions
intégrales des
morceaux ainsi que les
versions
d’accompagnement.
Les symboles
d’accords (sons
réels) figurant
au-dessus de la portée
facilitent
l’accompagnement
la guitare et/ou au
piano. Les parties
d’accompagnement
de piano optionel sont
rassemblées dans un
recueil vendu
séparément
(référence
:DHP_x001F_1125344-401).Q
ue le spectacle commence
!
Un viaggio nel
mondo circense che
consente ai musicisti di
suonare da soli, ma anche
di formare una vera band.
Il CD contiene una
versione demo e una
play-long di ogni brano.
In alternativa, grazie ai
simboli degli accordi
sopra il pentagramma, ci
si può esibire live
accompagnati dalla
chitarra e/o tastiera
(DHP 1125344-401). $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Circus Time Flûte traversière [Partition + CD] - Facile De Haske Publications
Flute - early intermediate SKU: BT.DHP-1125242-400 14 showstoppers for...(+)
Flute - early
intermediate SKU:
BT.DHP-1125242-400
14 showstoppers for
flute play-along
performance. Composed
by Joachim Johow. Book
with CD. Composed 2012.
20 pages. De Haske
Publications #DHP
1125242-400. Published by
De Haske Publications
(BT.DHP-1125242-400).
ISBN 9789043141710.
9x12 inches.
English-German-French-Dut
ch. The band
strikes up the circus
march for the entrance of
the artistes?the audience
waits
expectantlyâ?¦Between
the Opening March
and the Grand
Finale the packed
audience is presented
with a colourful
programme: courageous
acrobats, comical clowns,
oriental belly dancers,
knife-throwers and snake
charmers appear one after
the other.Circus
Time is also
available for clarinet,
alto saxophone and violin
(in the same sounding
key). This opens up all
sorts of choices:
musicians can take turns
to perform or build a
real circus band, or
even?with the help of
scenery and props?put on
a proper circus
performance. There is no
end of
possibilities!Theaccompan
ying CD contains demo and
play-along version of all
the pieces. Alternatively
the chord symbols
(written in concert
pitch) above the music
staff can be used for a
live accompaniment by
guitar and/or keyboard.
An optional piano
accompaniment is
available separately
(order number: DHP
1125344-401).On with the
show!
Het orkest
begint de circusmars te
spelen voordat de
artiesten opkomen - het
publiek wacht vol
spanning afâ?¦Van de
openingsmars tot de grand
finale krijgen de
toeschouwers een
kleurrijk programma
voorgeschoteld: moedige
acrobaten,grappige
clowns,
oostersebuikdanseressen,
messenwerpers en
slangenbezweerders volgen
elkaar op in de
piste.Circus Time
is ook beschikbaar voor
klarinet, altsaxofoon en
viool (in dezelfde
klinkende toonsoort). Er
zijn dus
allerleimogelijkheden: de
muzikanten kunnen elkaar
afwisselen met
solo-optredens of een
echt circusorkest vormen,
of zelfs - in een
geschikte omgeving en met
behulp van decorstukken -
een heus circusoptreden
verzorgen. Laat je
fantasiede vrije loop.De
bijgevoegde cd bevat
zowel demotracks als
begeleidingen voor alle
stukken. Voor live
begeleiding door keyboard
en/of gitaar staan de
akkoordsymbolen (klinkend
genoteerd) boven de
muziek. Optionele
pianobegeleidingenzijn
apart verkrijgbaar
(bestelnummer: DHP
1125344-401).Laat de show
maar beginnen!
Die
Kapelle spielt schon den
Zirkusmarsch zum Einzug
der Artisten - das
Publikum wartet
gespannt...Zwischen dem
Eröffnungsmarsch und dem Gro�en
Finale wird dem
geneigten Publikum ein
buntes Programm
präsentiert: Mutige
Akrobaten, lustige
Clowns, orientalische
Bauchtänzerinnen,
Messerwerfer und
Schlangenbeschwörer
treten nacheinander
auf.Circus Time
gibt es auch fu?r
Klarinette, Altsaxophon
und Violine (in den
gleichen klingenden
Tonarten). So eröffnen
sich viele
Möglichkeiten fu?r die
Auffu?hrung: Die Musiker
können abwechselnd
auftreten oder ein ganzes
Zirkusorchesterâ??
bilden und sogar -
ergänzt durch eine
szenische Umsetzung -
einerichtige
Zirkusvorstellung geben.
Der Fantasie sind keine
Grenzen gesetzt!Die
beiliegende CD enthält
Demo- und
Mitspielversionen aller
Stu?cke. Alternativ zu
den Mitspiel-Tracks
können die
Akkordsymbole (in
klingenden Tonarten)
u?ber den Noten fu?r eine
Live-Begleitung durch
Keyboard und/oder Gitarre
genutzt werden. Optional
sind Klavierbegleitungen
separat erhältlich
(Bestellnummer: DHP
1125344-401).Manege frei!
Lâ??orchestre du
cirque attaque la marche
qui annonce
lâ??apparition des
artistes - le public
attend
impatiemmentâ?¦Entre la
marche dâ??ouverture et
le finale, grands et
petits savourent un
programme haut en
couleurs : acrobates
audacieux, clowns
comiques, danseuses
orientales, jongleurs et
charmeurs de serpents
présentent tour tour
leur numéro.Circus
Time existe
également pour
clarinette, saxophone
alto et violon (dans la
même tonalité). Ce
choix offre de nombreuses
options : les musiciens
peuvent jouer tour tour
ou former un véritable
orchestre de cirque, ou
même - avec des
décors et des
accessoires - monter une
vraie représentation
de cirque. Les
possibilitéssont
illimitées !Le
compact-disc ci-joint
contient les versions
intégrales des
morceaux ainsi que les
versions
dâ??accompagnement. Les
symboles dâ??accords
(sons réels) figurant
au-dessus de la portée
facilitent
lâ??accompagnement la
guitare et/ou au piano.
Les parties
dâ??accompagnement de
piano optionel sont
rassemblées dans un
recueil vendu
séparément
(référence
:DHP_x001F_1125344-401).Q
ue le spectacle commence
!
Un viaggio nel
mondo circense che
consente ai musicisti di
suonare da soli, ma anche
di formare una vera band.
Il CD contiene una
versione demo e una
play-long di ogni brano.
In alternativa, grazie ai
simboli degli accordi
sopra il pentagramma, ci
si può esibire live
accompagnati dalla
chitarra e/o tastiera
(DHP 1125344-401). $25.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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